01
Stop hunting for files
Search one library instead of checking six drives, four project folders and someone's memory. Everything the team has ever shot is in one place and findable.
EditShare FLOW
Media Asset Management That Finds Any Clip in Seconds
One searchable library for every frame your team has ever shot. Ingest, metadata, transcode and workflow tracking run themselves, and FLOW AI reads the footage so even an unlogged archive becomes findable.
Media teams running EditShare
Clearing This Up First
FLOW is not an editing application, and it is not trying to replace yours.
If you came here looking for software to cut in, this is not that, and it is better to know now than twenty minutes into a call.
Where the line sits
Editors keep the tools they already know. FLOW handles everything that happens around the edit, which is where the hours actually go.
Your editors keep doing
Cutting, colour, sound, VFX, finishing. In the applications they use every day. Nothing about that changes.
FLOW takes over
Ingest, naming, metadata, transcode presets, routing between teams, and tracking where every job has got to.
Panels sit inside Adobe Premiere Pro, and it works alongside After Effects, Photoshop, Autodesk Flame, Lightworks and EDIUS.
Media Management Without the Busywork
Stop hunting across folders, drives and disconnected tools.
Three things change in the first week, and they are the three that eat your team's day.
02
Ingest that runs itself
Media comes in, gets named, gets metadata, gets transcoded and lands where editorial expects it. Nobody sits there doing it by hand at 7pm.
03
Know where every job stands
See what is shot, logged, cut and delivered without chasing anyone for a status update.
FLOW AI
Five things it reads out of the picture, without anyone logging a frame.
Faces and peopleWho is in the shot
Logos and brandsSponsor and clearance checks
On-screen textLower thirds, signage, slates
Spoken wordsFull transcripts, searchable
Scenes and objectsWhat is happening and where
And the part most tools cannot do: FLOW AI can analyse existing archives, making years of previously unlogged footage searchable.
From Ingest to Delivery
Three steps, and the manual work is gone.
Point FLOW at your media
New ingest and the existing archive, both. Nothing has to be re-encoded or moved first.
Set the rules once
Naming, metadata, transcode presets and routing. Written down once, applied every time after that.
Your team finds and cuts
Editors search the library in plain language and pull what they need. No prep queue, no request ticket, no waiting on a media manager.
What Media Teams Say
The people doing the work, in their own words.
"FLOW has removed the operational complexity, allowing our colourists to focus entirely on the creative side of the job."
Ken BurnettTechnical Operations Manager, Gorilla
"EditShare offers us better workflows with less human time and more automation."
Steve OakHead of Technical Operations, Azimuth
"EditShare has completely transformed our conform workflows."
Mark BankheadOnline Finishing Editor, Gorilla
[NEEDS INPUT] Headshots and logo clearance, owner Katharine. Quotes are text-only until then.
Why Video Is Different
A tool that manages documents will not manage your rushes.
Plenty of asset management systems handle files perfectly well, right up until the files are video. Three reasons they come apart:
✓Too big to shuffle around. FLOW manages and searches media across EFS and third-party storage, so teams can work from one media library without having to consolidate everything first.
✓The content is inside the picture. A filename tells you nothing about what was shot.
✓The archive was never logged. FLOW AI can analyse existing archives, making older footage searchable.
MAM vs DAM
The short answer, if that is what you came for.
DAMs typically focus on managing and distributing finished digital assets. MAMs are purpose-built for time-based media and production workflows, with capabilities such as proxies, transcoding, metadata and NLE integration. FLOW AI adds search inside the footage itself.
Four signs you have outgrown a DAM
Somebody scrubs footage to find a shot
A person is watching video to locate something, because the system can only search what was typed into a field.
The archive has become a write-off
Material older than about two years is technically kept but practically unfindable, so nobody looks and you occasionally reshoot what you own.
Proxies and transcodes happen by hand
Someone sets up the same render queue every week because the system does not do time-based media.
Editors work outside the system
The real workflow lives on drives and in a spreadsheet, and the DAM is where things get filed afterwards, if anyone remembers.
And the honest other direction: if video arrives finished, nobody searches inside it, and your problem is which assets are approved for use, a DAM is the right call and a MAM is an expensive way to solve a problem you do not have.
Depth for the People Evaluating Properly
What FLOW covers once you look past the demo.
Keep naming consistent
Repeatable metadata and naming rules so assets stay organized past the point anyone could keep in their head.
Transcodes nobody babysits
Proxies, deliverables and review copies come out of a preset instead of somebody setting up a queue by hand each time.
Connect storage and workflow
FLOW sits next to EFS, so media management is part of the storage rather than bolted on beside it.
Deploy your way
On-premise, cloud and hybrid, without forcing every team in the building into the same model.
Works with your edit tools
Part of the wider EditShare platform, which cuts the handoffs between separate systems. Works alongside Adobe Premiere Pro, After Effects and Photoshop, Autodesk Flame, Lightworks and EDIUS.
Built for the roles that touch media
Editors, media managers and production leaders, not IT. The people who lose the hours are the people it is designed around.
If You Are Comparing
Most MAM platforms give you one or two of the three. EditShare gives all three.
Teams evaluating FLOW are usually also looking at iconik, Sony Ci, Primestream, Dalet Flex, IPV Curator or Mimir. Serious video teams need three things stacked, and the gap is almost always in the layer nobody demos.
| The three layers | EditShare FLOW | The alternative |
|---|---|---|
| A single scalable namespace | One searchable media library across EFS and supported third-party storage, with EFS scaling from 32TB to 20PB+. | Ask them |
| Security and reliability | Media stays online through a drive failure, with RAID 6 per node and XOR protection across multi-node clusters. | Ask them |
| Workflow and automation | Ingest, naming, metadata, transcode and routing on rules you set once. | Ask them |
| Search inside the footage | FLOW AI reads faces, logos, on-screen text, speech and scenes across new and existing media. | Ask them |
| Pricing model | Bought as part of the platform rather than per seat. On-premise is a purchase, FLEX on AWS is a subscription, FLOW AI is subscription only. | Ask them |
Every claim in the EditShare column is one we can show you running. We have deliberately not filled the other column in rather than put words in a competitor's mouth: put whoever you are weighing us against in it, and we will go through it line by line on the call.
Frequently Asked Questions
Media asset management, in plain English.
What is media asset management?
Organizing, searching and moving media through production from one managed library, instead of leaving it spread across drives, project folders and cloud accounts.
Is this editing or post-production software?
No. FLOW does not replace the application your editors cut in. It handles everything around the edit: getting media in, prepared, organized and moved on.
What is the difference between a MAM and a DAM?
DAMs typically focus on managing and distributing finished digital assets. MAMs are purpose-built for time-based media and production workflows: proxies, transcoding, metadata and NLE integration. FLOW AI adds search inside the footage itself.
Is FLOW AI included, or licensed separately?
FLOW AI is licensed separately from FLOW as an annual subscription and requires dedicated GPU-enabled FLOW AI infrastructure.
How much does it cost?
It depends on how much media you hold, how many people touch it, and whether you run on-premise, in the cloud or both. FLOW is bought as part of the platform rather than per seat, so a list price would be misleading. Bring your capacity and headcount to the demo and you will leave with a real number instead of a range.
Can it search footage nobody ever logged?
Yes, and this is the part most tools cannot do. FLOW AI detects faces and people, logos and brands, on-screen text, spoken words as full transcripts, and scenes and objects, and it can analyse your existing archive so older footage becomes searchable.
Does it get rid of manual metadata entirely?
No, and anyone promising that is overselling. It removes the bulk logging work. Teams still add the editorial and rights metadata only a person can judge.
Can we migrate from the MAM we already run?
Bring the platform you are on now to the demo. What decides the effort is how your metadata is structured and what your current system will export, and that is the first thing we look at rather than something we guess at afterwards.
How long does setup take?
The software is not the slow part. The rules take as long to define as your process is complicated, and most of that time goes on deciding what the process actually is. We walk your ingest and delivery steps on the demo and give you a timeline for your setup rather than a generic one.
Is there a contract, and what happens if we stop?
On-premise EditShare is bought outright rather than rented, so the hardware stays yours. FLEX, which is EditShare on AWS, runs as a subscription, and FLOW AI is subscription only. Which combination fits depends on how you want to carry the cost, and we go through that on the demo.
Do we need EditShare storage to use it?
No. FLOW manages media on EditShare storage and on third-party storage, and FLOW AI indexes either. The only requirement is that FLOW can reach the media and make a proxy of it. Search and automation do get better over one library, which is why teams tend to consolidate eventually, but it is not a condition of starting.
Can we see it on our own footage?
Yes. Bring your own archive and the 30 minutes is spent searching it, not watching a canned demo reel.
The Numbers
What teams running EditShare actually get.
Up to 40%increase in content production reported by TV5
5things detected per clip, with no manual logging
0reprocessing to apply a new face or logo across previously analysed media
20PB+EFS storage in one namespace
See FLOW in Context
Bring the footage you can never find.
30 minutes, your workflow, straight answers. Book the slot on the same page.