Cut on the computer in front of you

For a lot of post teams, working from home means logging in to a computer that sits in a dark room at the facility, and editing through a picture of its screen. Every edit makes the round trip. Every scrub waits on the connection. And the facility keeps paying for a machine, a seat and a remote session for each editor, so the editing can happen somewhere else.

With B/side, the editor cuts on the computer in front of them. Playback, trimming and scrubbing happen on that machine, at the speed of that machine.

What changes for the editor

• The cut responds like it is local, because it is. No waiting on a stream to catch up with your hands.
• The picture is the picture. You judge colour and motion on the real frames, not a compressed copy of somebody else’s screen.
• Work from anywhere you have your laptop. Home, the office, a hotel during a shoot.
• No drives to carry. Once the footage is in, you cut it from any computer with nothing plugged in, on every plan. Finish from the originals when you are back at them, or keep them in the cloud too.

What changes for the facility

• No machine per editor sitting in the building just so it can be driven from somewhere else.
• One project for the whole show. Every editor, assistant and producer is in it, wherever they are.
• Your storage stays yours. Camera originals stay on your drives unless you choose otherwise.

Watch the cut on your phone

Make a review version of a cut and A/Side turns it into one finished video, with the effects and the mix already in. Anyone on the project can watch it in a phone’s browser, or on a tablet or a computer. A note left on it lands on the cut, where that moment is now, even if the cut has changed since.

Why it matters

Remote editing should mean the editor is somewhere else, not that the computer is. When the cut runs where the editor sits, the room in the building stops being a requirement, and the edit feels the way it does when you are in the bay.