Feature and long-form television editorial runs on distributed crews and dailies that never stop arriving. Editors in one city, an assistant prepping reels in another, a post supervisor trying to see all of it at once. The usual answer — Avid shared storage reached over a VPN, or Premiere projects on drives shipped between rooms — means someone is always waiting on media, and someone is always guessing which cut is current.
Sequence puts the whole cut in the cloud as one live project. Several editors open it at the same time and their changes appear in each other's sessions within moments, so you're always cutting against the current state of the film rather than a copy that was current yesterday. See Edit together in real time.
It fits the pipeline you already have. Footage comes in, the cut goes out to Resolve, Pro Tools, or Avid for finishing — Sequence sits in the middle and takes the coordination pain out.
The workflow challenge#
Long-form editorial is uniquely demanding:
- Distributed crews — editors, assistants, and supervisors working from different cities and time zones, all against one evolving cut
- Reels and cuts to keep straight — multiple reels, rough cuts, and director's cuts in flight at once, with no room for
FINAL_v3confusion - Dailies at volume — terabytes arriving during production that editors need to start reviewing before the full-resolution transfer is done
- Fixed delivery dates — air dates and release windows that don't move for a technical problem
- Unreleased material — work that has to stay locked down to the people actually on the show
How Sequence fits#
One project, many editors
Editors and assistants open the same project at once — no bin locks, no VPN, no shipped drives. Every trim, rename, and added clip syncs live, and you can follow another editor's view to watch a change land or catch up on a reel.
Dailies that are ready to cut
Upload from the lab or set and Sequence processes each file into a playable clip in the background while you keep working — optimized versions for smooth playback are prepared automatically. See Add media to your project and Background jobs.
Private by default
Projects are private to the people you add. Per-project membership and roles and permissions — Owner, Admin, Editor, Guest — control who can open, edit, or only review a cut, with a Guest role built for freelancers and outside reviewers who should see one project and nothing else. Built for security-conscious teams.
Typical pipeline#
Ingest dailies
Footage is uploaded from the lab or the set — drag it in, use the upload button, or pull it from a URL. Sequence transfers and processes each file in the background and drops it into the library's Inbox, so editors can start reviewing while the rest continues to land. See Add media to your project.
Cut, distributed
Editors and assistants work the same live project from wherever they are. Changes sync in real time, so the supervisor and the crew are always looking at the current cut. See Edit together in real time.
Review with directors and producers
Publish a cut as a screening and send a link. Directors and producers watch in the browser — nothing to install — and leave time-coded notes on the screening. Set access to Private so only project members can open it, and keep the working project untouched.
Conform and deliver
Lock the reel and generate a timeline package, then mount its media and open it in your finishing tool with Shuttle — a clean round-trip to Resolve for color and Pro Tools for the mix.
Who it's for#
- Post supervisors coordinating multi-city editorial crews
- Lead editors on features and limited series
- Assistant editors handling ingest, reels, and conform prep
- Facilities and heads of post standardizing rooms on one platform
[Customer story — TODO: real reference needed]
Space reserved for a named film or television production reference. No metric goes here until it comes from a real customer.