You have a prepared team project with selects. The remote editor needs that project and its edit media in their NLE, and their picture changes need to come back 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 selects in Finder next to the edit media, so the editor can start while production keeps the camera drive.
Edit media is an HEVC copy of each camera file with the same clip name, timecode and reel. Check links in your NLE, including any proxy or relink steps. A black “Media offline” clip means its picture and sound haven’t arrived yet.

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.
Flatten multicam clips and nested sequences before returning a cut. Unsupported retiming or effects that change source ranges can prevent Stringout from importing it.

03
Colorists can reconform back to original media.
The grade needs the camera original behind each shot, not its edit media. Select the clips and choose Transfer original to request them from the Mac holding the drive. Each original arrives whole, so the colorist has every frame for handles. 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 its edit media. Supported project changes can become a new version of the team cut. The colorist gets the whole camera originals through a separate transfer.
See Pro pricing
