Media management
Media leaves as it is. It arrives as they want it.
Today every hand-off means someone reshuffles the folders, digs out the CDLs and LUTs and ships it all, then someone at the other end reshuffles it again. Origami takes those steps away.
- Today
- Today the files wait at every desk: reshuffled, matched with their CDLs and LUTs, shipped, then reshuffled again at the other end.
- With Origami
- With Origami, media leaves your facility as it is and lands in the vendor’s folder structure, each clip with its CDL and LUT beside it.
Find
Find any shot, on any storage.
Search by name, then narrow by camera, lens, scene, take, LUT or sound roll. Every storage in the project, in one list.
- Search
- Type part of a filename and the list narrows as you type, across every storage in the project.
- Filter
- Add filters from the camera, production and sound metadata. Each one narrows the list further.
- Browse
- See what you found as thumbnails, wherever each file lives, and hover over a shot to scrub through it.
So you can see what you are sending
Watch the shot, right where you manage it.
Play proxies in the browser as you review your assets, without opening a second tool. Every playback carries a visible and a forensic watermark, so a leak leads back to whoever watched it.
A012C004
A012C004.mov84 MB
A012C005
A012C005.mov61 MB
B007C011
B007C011.mov97 MB
Sam Carter · Acme Pictures · 7K3M9QXD
Watermarked, seen and unseen
A visible mark with the viewer’s name, and a forensic one.
Traceable
A code seen in a leak leads back to the person who watched.
On your terms
Switched on per project, for the people you allow.
Every detail about a shot, from every tool that knows it.
How the metadata router worksCollections
Gather it once. Lay it out any way you like.
Pick shots from any storage into one collection. Choose a collection profile, and the same media arranges itself by camera, by scene, or just as it was filed. Nothing is copied to do it.
- Scattered
- The shots sit on a SAN, a NAS and a cloud bucket, each filed its own way. Tick the ones you need, wherever they are.
- One collection
- Drop them on Add to collection and they gather in one place, all mixed together. Nothing is copied.
- By camera and shoot date
- Choose a collection profile and the folders build themselves, by camera then shoot date. The sound lands in Everything else.
- By scene and take
- Switch profile and the same shots regroup by scene and take, picture and sound together.
- Preserve original structure
- Or keep every shot in the folders it came from. The same collection, laid out whichever way you choose.
Supporting files
The CDLs, LUTs and proxies come with it.
Switch them on once in the collection profile. Every clip then carries its own colour, look and proxy into the delivery, and nobody has to dig them out.
- Per-clip files
- Each clip brings its own CDL, look and proxy, filed right beside it in the delivery.
- Package files
- The manifest, the MovieLabs OMC and the timeline sit at the top of the delivery, named after the job.
Send
Send everyone the same, or everyone their own.
One transfer sends the same package to every vendor. Or send the collection again with another profile, and each vendor gets their own structure and supporting files, straight onto their storage.
- Same package, every vendor
- One transfer, three vendors. Each gets the same folders and files, on their own storage, under a folder named after the job.
- Each their own
- Send the collection again with another profile. Each vendor gets their own structure and supporting files, already organised.
“Origami has reclaimed valuable hours for our editors and support staff. It empowers our creative team to focus on what truly matters.”
Robert C. Rodriguez
VP Post Production, Point 360
Take Origami for a spin with your own material.
A twenty-minute demo on a call, then a demo account on your own footage: pulls, conforms, deliveries, colour carried with the frames, and your AI assistant driving it.