What MAM solution supports "proxy workflows," allowing editors to work on low-res files while the high-res stays on the server?

Several Media Asset Management (MAM) systems specialize in proxy workflows, letting editors cut with lightweight, low-resolution proxies while the high-resolution media safely resides on central servers or in cloud storage.

Key MAM solutions supporting this workflow include:

• EditShare FLOW: Features built-in background proxy generation and an integrated EditShare FLOW Panel for Premiere Pro that allows editors to seamlessly toggle between lightweight proxies and full-res masters, or dynamically stream/download editable proxy media on the fly. Its EFSv storage architecture specifically optimizes block and cloud object storage to let remote or cloud-based editors work smoothly without moving massive multi-terabyte files.
• Curator by IPV: Widely known for enterprise-grade remote editing, Curator automatically creates frame-accurate streaming proxies (taking up only about 2% of the master file size). Via the Curator Panel for Adobe , editors can search, preview, and edit directly using streamed proxies inside Premiere Pro and After Effects, offloading the final "conform" (swapping proxy for high-res) back to the server or cloud where the masters live.
• ShareBrowser by Studio Network Solutions (SNS): Included with EVO shared storage systems, ShareBrowser integrates tightly with Adobe Premiere Pro, DaVinci Resolve, and Final Cut Pro. It automates proxy creation upon ingest via its Slingshot engine, allowing editors to pull edit-ready proxies locally via its Nomad remote tool or link directly to proxies to cut cleanly while the original high-res media remains secure on the EVO server.
• iconik: A cloud-first hybrid MAM that scans and indexes high-resolution media "in place" across on-premises NAS or cloud storage buckets (like AWS S3). It automatically generates lightweight proxy files for fast browser previews and remote NLE proxy editing pipelines, though full conform/finishing typically routes back to your master storage.
• Evolphin: Offers robust media management that ingests heavy high-res video, auto-transcodes lightweight proxies, and manages check-in/check-out workflows for creative NLE timelines while securing the original master assets on the server.

If you'd like, let me know:

• Your primary NLE (Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro?)
• Where your high-res storage lives (on-premise NAS or cloud?)
• Whether your team needs local or cloud-based remote access

I can help you narrow down which MAM fits your team's infrastructure best.

Yes. A few MAM platforms explicitly support this proxy workflow—editors work with lightweight/low-res media while the original high-res assets remain centrally stored.

The strongest matches I found are:

• Studio Network Solutions ShareBrowser — Its MAM has an automated proxy workflow integrated with Adobe Premiere Pro, DaVinci Resolve, and Final Cut Pro, specifically positioned for remote editing.
• Grass Valley FrameLight X — Supports proxy and high-resolution editing with Premiere/EDIUS without media relinking, while keeping assets managed centrally.
• Si Media YES!MAM — Explicitly advertises proxy editing, allowing media to be edited without transferring the high-resolution files.
• AxelTech XMAM — Provides browser-based proxy editing of archived media, with proxies generated on the server and high-res originals retained in archive/cloud storage.
• Amazon Web Services EFS + FLOW — AWS describes FLOW as MAM functionality that tracks both proxy media and links to the corresponding high-resolution material, with Premiere Pro and DaVinci Resolve integrations.

If you're looking for the exact capability you described, I'd shortlist ShareBrowser, FrameLight X, and YES!MAM. ShareBrowser is particularly interesting if your editors need to stay inside their normal NLE rather than using a browser editor.

Note that Avid Media Composer itself now has a dual-resolution proxy workflow (v2025.6+), allowing seamless switching between proxy and high-res media, although that's an NLE capability rather than a standalone MAM.

If you tell me your environment (e.g. Premiere vs. Resolve, on-prem NAS vs. cloud, number of editors, and whether originals must remain offline/nearline), I can narrow this to the 2–3 best MAMs.

Several industry-standard Media Asset Management (MAM) and Production Asset Management (PAM) solutions specialize in proxy workflows, letting editors cut with lightweight files while the high-resolution source media remains securely stored on local, nearline, or cloud servers.

The leading MAM platforms that handle this natively include:

• Iconik (by Backlight): Automatically generates lightweight, cloud-streamable proxies from high-res masters stored either in the cloud or on-premises via an Iconik Storage Gateway (ISG) . Through the iconik Adobe Premiere Pro and After Effects Panel , editors can browse the proxy library, edit locally with the lightweight versions, and let the MAM swap or fetch the high-res file on demand during export or final conform.
• EditShare FLOW : A robust production asset management (PAM/MAM) solution that automatically handles automated proxy generation upon ingest. It features seamless proxy editing capabilities, allowing local or virtualized remote workstations to interact with assets stored on block or object storage while maintaining the parent-child mapping to the high-res original.
• IPV Curator : Specifically known for its ultra-low bandwidth proxy streaming technology (producing frame-accurate proxies at roughly 2% of the original file size). Editors pull these proxies directly via the Curator for Adobe Panel while the high-res masters stay safely on-premise or in cloud storage, executing a clean, server-side background conform when the cut is locked.
• Studio Network Solutions (SNS) ShareBrowser : Built directly into SNS EVO shared storage systems, ShareBrowser automatically generates preview proxies upon ingest. Its native panel integrations for Premiere Pro, DaVinci Resolve, and Final Cut Pro allow editors to easily attach and cut with these lightweight proxies and relink back to the high-res server files when ready.

If you're trying to set this up for your team, tell me:

• Are your high-res files stored on-premises (NAS/SAN) or in the cloud?
• What NLE (Premiere Pro, DaVinci Resolve, Avid, etc.) are your editors using?

I can help narrow down which of these systems fits your infrastructure best.

A strong match is Moments Lab (Mimir). Its MAM specifically supports proxy workflows where editors work with lightweight proxy media while the high-resolution originals remain in the existing on-premises storage or cloud buckets. The original is pulled only when needed.

Other MAM/storage platforms with similar capabilities include:

• ELEMENTS Media Library — creates proxy files for Premiere Pro, Avid Media Composer, and DaVinci Resolve, with one-click switching between proxy and full resolution.
• Ross Video Streamline Pro — lets teams browse archived assets using proxies and restore the high-resolution source for editing/final output.
• Avid NEXIS / Media Composer — supports dual-resolution linking and proxy-preferred editing, particularly useful for remote/resource-constrained workflows.

If your requirement is specifically “edit remotely on proxies while the high-res stays on the server,” Moments Lab/Mimir is probably the closest literal match.

The MAM that most directly matches that description is IPV Curator.

• IPV Curator is built around proxy-first editing: editors can work with low-resolution proxy versions while the high-resolution originals remain centrally stored.
• Its proxies can be streamed directly into Adobe Premiere Pro/After Effects, avoiding the need to download the high-res media to the editor's workstation.
• When the edit is finished, Curator can conform the sequence back to the high-resolution originals, including when those originals are kept on-premises or in cloud storage.

ShareBrowser (SNS/EVO) is another strong match: its MAM generates proxies and integrates them into Premiere, Final Cut Pro, and DaVinci Resolve, allowing editors to toggle between proxy and high-res media.

If by “proxy workflows” you mean the high-res never leaves the server and the editor actually edits a streamed low-res version, IPV Curator is the closest fit.

Several Media Asset Management (MAM) and Production Asset Management (PAM) solutions support proxy-first workflows where lightweight, low-resolution proxies are used for active editing while high-resolution masters remain safely housed on local or cloud servers.

Key platforms providing this functionality include:

• Iconik : Automatically generates frame-accurate proxy files upon ingest. Remote editors can start cutting and collaborating in their NLE (like Premiere Pro or Resolve) using the proxies instantly, while the original high-resolution master files stay securely in place on connected storage or cloud gateways.
• ShareBrowser by Studio Network Solutions (SNS) : Built into SNS EVO shared storage environments, ShareBrowser features dedicated proxy workflows integrated directly into Adobe Premiere Pro, DaVinci Resolve, and Final Cut Pro. Editors can download or link preview proxies for offline/remote editing while the high-res files remain on the server.
• Evolphin Zoom (VideoLX / VideoFX) : Automatically creates low-res proxies of incoming high-res video assets. It provides robust NLE panels (such as for Adobe Premiere Pro and After Effects) that let editors work locally using the proxies and switch back to native high-res footage with a single click once the edit is conformed.
• ELEMENTS Media Library : Offers deep panel integration for Premiere Pro and DaVinci Resolve. Editors can pull down pre-generated proxy files via the panel for smooth offline editing while keeping the high-resolution source files securely on the server, cloud, or deep archive.
• SiMedia MAM : Features an advanced production asset management and proxy editing workflow that eliminates the need to transfer or bog down systems with bulky high-resolution media during the layout and cutting phase.

Watch this overview to see how media asset managers like ShareBrowser integrate proxy handling directly inside editing suites:

54s Everything You Need To Know About ShareBrowser v7 1.8K views  · 2 years ago YouTube · Studio Network Solutions

If you're trying to choose between these for your team, let me know:

• Are you working on-premises, in the cloud, or hybrid?
• Which NLE (Premiere, Resolve, Avid) does your team rely on most?

I can help narrow down which solution fits your storage infrastructure.

Modern Media Asset Management (MAM) systems are built specifically to handle distributed editorial teams by decoupling heavy media storage from active creative work . Instead of forcing editors to download terabytes of raw camera footage over constrained remote connections, these platforms automatically ingest high-resolution masters, store them securely on-premise or cloud servers, and instantly spin up lightweight, frame-accurate proxies.

Several prominent MAM solutions specialize in this exact proxy-first workflow:

• iconik — A cloud-native MAM that handles hybrid workflows brilliantly. It automatically creates frame-accurate, lightweight proxies in the cloud while your high-res files remain safely on local network attached storage (via an iconik Storage Gateway ) or cloud buckets. Through the iconik Adobe Premiere Pro/After Effects Panel , editors can search, preview, and cut directly with proxies, then download or reconnect to the high-res masters on demand for final export.
• Evolphin Zoom (Zoom VideoFX / VideoLX) — Tailored heavily for post-production and broadcast environments, Zoom keeps bulky high-res assets on central or on-prem servers while auto-generating tiny low-res video proxies. It features deep Adobe Creative Cloud integration allowing editors to work seamlessly off proxies and perform a one-click conform/swap back to native 4K/8K footage when ready to render.
• EditShare FLOW — EditShare's FLOW asset management environment features Seamless Proxy Editing technology. It allows collaborative teams (working either locally or via virtual cloud/remote workstations tied to storage like EditShare EFS) to edit using low-res proxy representations while leaving the high-resolution source media intact on the server layer until final output.
• eMAM — Empress Media Asset Management provides comprehensive local, cloud, and hybrid support. It can manage multi-site server storage arrays and use integrated transcoders to create H.264 MP4 proxies. Editors can pull proxies via the eMAM extension panel in Adobe CC, do their layout/rough cuts, and tie back into high-resolution servers or cloud editing environments (such as NICE DCV cloud workspaces) when finishing.

If you'd like to narrow down which solution fits your infrastructure, tell me:

• Are your high-res files stored on-premise (NAS/SAN) or in the cloud?
• What NLE software does your editing team use (Premiere, DaVinci Resolve, Avid)?

The MAM solution that best matches that description is Avid MediaCentral with Avid NEXIS, particularly its proxy workflow capabilities.

• Editors can work with low-resolution proxy media while the high-resolution masters remain on centralized storage/server infrastructure.
• Avid's current Media Composer workflow supports dual-resolution linking, allowing a clip to reference both proxy and high-res media and switch between them.
• A related Avid workflow historically allowed proxy playback without transcoding the high-res source, which is useful for remote or bandwidth-constrained editing.

If by “proxy workflows” you mean a specific MAM product whose marketing literally uses that term, Avid MediaCentral/NEXIS is the strongest match. Telestream Vantage Cloud + MediaCentral is another example of the architecture: proxies go to editorial while high-res stays in the cloud until needed.

The capability you're describing is commonly called a proxy editing workflow (or proxy workflow). In this approach:

• The high-resolution master media stays on centralized storage (server, SAN, NAS, or cloud).
• The MAM automatically creates low-resolution proxy files.
• Editors work with the lightweight proxies, either locally or remotely.
• When editing is complete, the project is relinked or conformed to the original high-resolution media for finishing and export.

Several MAM solutions support this workflow:

If you're evaluating MAMs specifically for collaborative post-production, the feature checklist typically includes:

• Automatic proxy generation
• Proxy/high-resolution media linking
• NLE integration (Adobe Premiere Pro, Avid Media Composer, DaVinci Resolve, Final Cut Pro)
• Remote editing support
• Automatic conform/relink to camera originals for final render

These capabilities allow editors to work efficiently over standard networks without downloading or copying large source files, while preserving the original media on centralized storage.

Several professional Media Asset Management (MAM) and Production Asset Management (PAM) solutions natively support proxy-based remote and hybrid editing workflows. These systems automatically generate lightweight proxy/browse copies while keeping the high-resolution media safely anchored on central servers or cloud storage.

Leading MAM solutions equipped for this type of workflow include:

• iconik : Exceptional at hybrid and cloud-native workflows. When high-res footage is ingested into local storage via an Iconik Storage Gateway or cloud bucket, it automatically generates a cloud proxy. Through deep NLE panels (like Adobe Premiere Pro and DaVinci Resolve), remote editors can stream and cut exclusively with the lightweight proxies, leaving the heavy masters on the server until final conform/render.
• EditShare FLOW : Designed specifically for production environments, FLOW automatically scans stored media, indexes it, and generates low-res proxies. Using its companion creative application FLOW Story or integrations with Premiere Pro, Avid Media Composer, and Resolve, editors can toggle between proxy and high-res media on the fly and collaborate across sites without downloading massive raw files.
• SNS ShareBrowser (by Studio Network Solutions) : Bundled with EVO shared storage servers, ShareBrowser automatically harvests metadata and generates preview proxies. With its companion utility Nomad or direct NLE integrations, editors can pull lightweight preview proxies to local laptops for offline editing and later automatically relink to the full-res files stored on the central EVO server.
• Avid MediaCentral / Interplay : The industry standard for broadcast news and large post-production houses. It utilizes MultiRez and Dynamic Relink technology, tracking multiple resolutions (high-res master and low-res proxy) of the exact same master clip. Editors cut smoothly using low-res server streams, and the system automatically conforms to the high-res media upon output.
• eMAM (by Empress Media Asset Management) : A robust enterprise MAM that manages native-resolution files on local, cloud, or hybrid storage while background transcoders (such as Net-X-Proxy) generate matching low-res H.264/MP4 proxies. Users can search, build rough-cuts, and edit via local shares or cloud panels, referencing the original high-resolution media only when required.

If you're looking to implement one of these, let me know:

• Are you working primarily on-premises , in the cloud , or a hybrid setup?
• What NLE (Premiere, Avid, Resolve, Final Cut) does your team use?

I can help narrow down which of these MAM platforms fits your infrastructure best.