For post houses and shows
Remote editing without the remote desktop
Every editor cuts on the machine in front of them, at the speed of a local drive, while the whole team works in the same cut from wherever they are. Producers review inside the edit instead of around it.
Every act, every editor, one project
Each editor cuts their own act on their own machine, in the same project. Assistants prep dailies while you cut. No bin locks, and nobody touches your timeline.
Your staff, added once
Add your staff once and they can open every project in the house. Each show includes 4 editing seats, and producers and reviewers are always free. Keep an embargoed show to the people on it, and give a freelancer a last day.
No remote desktop
Nobody drives a machine back in the building from home. Picture is never a compressed stream of somebody else’s screen.
Your storage stays yours
Originals stay on your own storage, in the building, unless you choose otherwise. The machines you already own do the work.
Every take that says a line
Open the script and each line shows which takes cover it and from how many camera setups, without anyone logging it. A scene with no coverage stands out as clearly as one with three takes.
The mic’s name on the track
Not A1 to A8. Each channel of a multitrack sound file carries the name the sound mixer gave it, on the right track, through to the mix and the turnover.
Sound laid out for delivery
A master’s channels laid out from the mix, the stems or single tracks, up to 16.
Collect Hi-Res
Footage on shuttle drives or archive restores that cannot all be mounted at once? Gather just what the cut uses and finish anywhere. Or hand the cut to another facility without shipping a drive.
Nothing goes missing quietly
Effects that Avid and B/side both have arrive applied. Anything that does not come across is named on the frame, so you see what to redo before the online, not during it.
Take over the shows you already have
Drop in an existing Avid project folder and its bins, cuts and multicam groups open intact. Anything that does not come across is named on the frame, never silently dropped.
Everything you get
All features →- 01
Never lose your raw
Point the free desktop helper at two drives and plug in a card. It copies every file to both and checks each copy against the card. Then it tells you whether the card is safe to format.
- 02
Stop shipping drives
Offload on location with a decent connection and the footage goes up as the day goes. The edit room starts cutting before you wrap, and the originals follow at their own pace.
- 03
Cut on the computer in front of you
Edit from home at full speed, on your own machine. No remote desktop, and no workstation in the building that exists only so someone can drive it from somewhere else.
- 04
Your camera originals stay on your own drives
Cut in B/side and keep your rushes where they are. Camera originals stay on your own drives unless you choose otherwise, and the free desktop helper ingests the footage for the whole team.
- 05
The Media Composer keyboard and layout you already know
Source and Record monitors with three-point editing, on the keys your hands already know. Cut in B/side the way you cut in Media Composer.
- 06
Trim mode with a live two-up
Trim a cut point while a live two-up shows both sides of it. Every nudge previews before it takes effect, so you see the frame before you land on it.
- Frame accurate, from the first cut to the last
- Anyone can cut multicam
- A vertical version of your cut, in one step
- Notes on the exact frame, from anyone with a link
- Every take of a line, straight from the script
- Mic names on the tracks, where they belong
- Transcripts you can cut from
- A real mixer, and voice-over recorded in the browser
- Finish the picture without leaving the cut
- Open an Avid or Premiere Pro project and keep cutting
- Hand off to sound and colour
- One project for the whole show
Questions people ask
More answers →- AAF or EDL: what should you send to sound and colour?Sound almost always wants an AAF, because it carries the audio tracks with their clips and levels in a form a sound editor can open and work from.
- How do producers review cuts remotely?Most producers now review cuts from a link that plays in a browser, writing notes as they watch instead of sitting in the edit suite.
- How much storage do I need for video editing?Multiply the hours of footage you shoot by how much space your camera’s format uses per hour, then at least double it so every file lives on two separate drives.
- How do you edit a multicam podcast?Group every camera and the separate sound recording into one multicam clip.
- How do you edit video remotely as a team?There are two main ways.
- How do I find every take of a line of dialogue when editing?Start from the script.
Built in the cutting room
Made by someone who has sat in your chair.
B/side is built by an assistant editor with 15 years in post, across scripted and unscripted television, game shows, features and VFX-heavy shows. Every rule in it comes from a real night in a real cutting room.
Nominated for a Children's & Family Emmy for editing on The Muppets Mayhem.
Selected credits
- Shark TankLead assistant editor
- Wheel of Fortune
- Big Brother
- Dancing with the Stars
- The Goldbergs
- The Muppets MayhemEmmy nominated, editing
The maker’s own credits. These shows are not B/side customers.
Do we have to switch everything at once?
No. Your current edit system keeps running the whole time. You move a show over when you are sure, and not before.
Ready to try it on a real project?
Talk to us about your showNot you? i make my own content or i edit for clients.