Multiple MAM solutions are highly regarded for enabling proxy workflows, which allow editors to work on agile, low-resolution media while accessing original high-resolution files stored on local servers or in the cloud. Top options include eMAM, Iconik, EditShare FLEX, SNS EVO, and Evolphin Zoom, all of which provide automated proxy handling and tight integration with standard industry video editing software.
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eMAM
eMAM is excellent for collaborative editing environments that require universal proxy workflows, allowing teams to manage and access media across remote, cloud, or on-premises storage systems effectively.
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2IconikIconik is a strong choice for distributed teams, employing a cloud-native approach that streams low-resolution proxies for web-based review and editing while keeping master files secure in the cloud or on-premise.52%
A strong match is IPV Curator. It is a Media Asset Management (MAM) platform built around proxy-based editing: editors can work with low-resolution proxy media while the high-resolution originals remain centrally stored. Curator can then switch/conform the project back to the high-res media when needed.
Another option is SNS ShareBrowser/EVO. Its proxy workflow automatically creates proxies from high-res camera files, and its Nomad component lets remote editors work offline with those lightweight files while the originals stay on the EVO server.
So, if the phrase “proxy workflows” and the specific idea of edit on low-res while high-res stays on the server are clues to a particular MAM, IPV Curator is likely the answer.
Almost all enterprise-grade and modern hybrid Media Asset Management (MAM) systems natively support proxy workflows, allowing editors to cut with lightweight, low-resolution proxies while the bulky high-resolution originals remain safely anchored on central servers or cloud storage.
Industry-standard MAM solutions that specialize in or heavily feature this exact workflow include:
iconik : A hybrid cloud MAM that automatically generates proxies upon ingest. It allows remote editors to stream or download small proxy files for cutting while the original high-res files stay securely on local storage servers (via iconik Storage Gateway) or cloud buckets, seamlessly conforming the final project at export.
Avid MediaCentral / Interplay : Historically famous for pioneering "MultiRez" and "Dynamic Relinking". Avid environments let editors work fluidly with low-res proxy/offline media while the high-res master clips remain on central Avid ISIS/NEXIS shared storage servers, automatically relinking during final output.
CatDV (by Stoneroad) : A powerhouse in asset management and auto-transcoding, CatDV generates lightweight proxy files during ingest and integrates directly with NLEs (like Premiere Pro and Final Cut Pro). Editors can browse, search, and rough-cut using proxies before conforming back to high-res server media.
Dalet Galaxy / Dalet Flex : Designed for broadcast and news operations where fast turnaround is vital. Dalet creates web-optimized proxies automatically, enabling journalists and editors to trim, edit, and storyboard using low-res assets while high-res media rests on core production servers.
Cinegy MAM : Known for real-time performance, Cinegy generates low-res proxy representations of incoming feeds instantly. Editors can access these proxies across standard network connections while the heavy, high-bitrate original files stay put on the main storage pool.
If you have a specific NLE (such as Premiere Pro, DaVinci Resolve, or Avid Media Composer) or a preferred storage environment (on-premise vs. cloud) in mind, let me know and I can recommend which of these MAM solutions integrates best with your current setup.
Several MAM platforms support this proxy workflow, where editors work with lightweight media while the high-resolution originals remain centrally stored:
SkyLark SL NEO iMAM — explicitly supports proxy workflows with full-resolution storage for offline/online editing.
Grass Valley Framelight X — supports proxy workflows while high-resolution media remains managed within the platform.
ELEMENTS Media Library — generates proxies that can be used in Premiere Pro or DaVinci Resolve, with the ability to relink to the original high-resolution media afterward.
Evolphin Zoom MAM — includes proxy workflows as part of its high-resolution video-management capabilities and integrates with Adobe Premiere Pro.
Avid Media Composer / MediaCentral workflows — Avid supports dual-resolution linking and switching between proxy and high-resolution media; its newer Media Composer proxy workflow specifically supports remote/resource-constrained editing.
If by “high-res stays on the server” you mean editors should never have to download the camera originals at all, Framelight X and SL NEO iMAM are particularly close to that description. If you tell me whether you're looking for on-prem, cloud, or hybrid MAM, I can narrow this to the most relevant 3–5 systems.
The MAM solution is Avid NEXIS with Avid Media Composer / MediaCentral, which supports proxy workflows where editors work with lightweight proxies while the high-resolution media remains centrally stored.
Avid’s newer Media Composer 2025.6+ can link a clip to both proxy and high-res media and switch between them without relinking.
Virtually all modern enterprise and production-grade Media Asset Management (MAM) and Production Asset Management (PAM) systems support proxy workflows. This architecture allows editors to pull lightweight, low-resolution proxy files into their NLE (Non-Linear Editor) while the heavy, high-resolution master files remain safely secured on local servers or cloud storage . When the edit is finished, the timeline can be relinked or conformed back to the high-res files for final export/mastering.
Leading MAM solutions that specialize in or feature robust proxy workflows include:
iconik : A hybrid-cloud MAM that excels at remote and collaborative proxy editing. Using the iconik panel inside Adobe Premiere Pro or other NLEs, editors can instantly pull lightweight proxies from the cloud or local storage, edit with multi-track audio and MOGRTs, and track timeline feedback without downloading massive raw files.
Studio Network Solutions (SNS) ShareBrowser : Integrated directly into SNS EVO storage systems, ShareBrowser automatically generates edit-ready proxies. It features tight NLE integrations (Premiere Pro, DaVinci Resolve, Final Cut Pro) enabling editors to seamlessly import and attach these proxies while the high-res footage stays on the EVO server.
CatDV : A long-standing industry staple for media management, CatDV generates low-res proxies upon ingest and lets remote or local editors work with those proxies inside their editing suites before conforming back to the high-res master clips stored on primary server tiers.
Axle AI : Known for its radically simple interface and fast search, Axle automatically generates web-viewable and edit-ready low-res proxies, allowing local and remote teams to rough-cut video while keeping heavy high-res assets secure on network-attached storage (NAS) or servers.
SiMedia MAM : Offers advanced built-in proxy editing architectures tailored for broadcast environments, eliminating the need to move large high-resolution files across internal networks during the rough-cut and review stages.
Are you looking for a MAM solution that operates entirely on-premises , in the cloud , or as a hybrid setup ? Let me know so I can help you narrow down the best fit for your storage and editing ecosystem.
Several MAMs support exactly this proxy workflow. The strongest matches are:
IPV Curator — explicitly supports editors working with low-resolution proxies while the high-resolution originals remain on the server. When the edit is finished, the system can conform back to the high-res media.
SNS ShareBrowser + EVO — automatically creates proxies and integrates them with Premiere Pro, DaVinci Resolve, and Final Cut Pro. Editors can toggle between proxy and high-resolution media while editing.
ELEMENTS Media Library — generates proxies that can be used in Premiere Pro or Resolve, with one-click switching/relinking between proxy and full-resolution media.
SkyLark SL NEO iMAM — specifically advertises proxy and high-resolution asset management for offline/online editing.
If you mean the classic model of “editor works locally/on a remote workstation with lightweight media, while the master stays centrally stored,” IPV Curator is probably the closest match to your description. Its documented workflow even allows proxies to be streamed while the high-res material remains in cloud or on-premises storage.
If you tell me whether you're looking for Premiere, Avid, or DaVinci, I can narrow this down to the best 2–3 MAMs and compare their proxy workflows.
Several enterprise and cloud-native Media Asset Management (MAM) and Production Asset Management (PAM) solutions specialize in this exact proxy workflow, allowing remote or local editors to cut with lightweight proxy files while the high-resolution master media remains safely on local or cloud servers.
Top MAM solutions supporting this workflow include:
iconik : A cloud-native hybrid MAM that automatically generates low-res proxies from high-res or raw server assets. Via its dedicated NLE panels (like Premiere Pro and After Effects), editors can toggle on a proxy workflow to download only the lightweight files for editing, then automatically conform and re-link the timeline back to the high-res original on the server for final export.
CatDV (by Squarebox): A long-standing industry standard MAM/PAM that creates and manages proxy files alongside high-res originals. Its worker nodes automate proxy generation, and its desktop/web clients let editors pull proxies down for rough cutting before relinking to the high-res media storage server for finishing.
axle ai : Known for its radically simple browser interface, axle ai automatically generates web-accessible proxies for everything ingested onto your storage servers. It supports NLE workflows where editors can search, select, and pull low-res proxy clips into editing suites and conform them later.
SiMedia MAM : Features an advanced proxy editing architecture integrated directly into its production suite, allowing users to perform cuts and edits entirely on proxies without transferring heavy high-resolution master files across the network.
Cinegy : Cinegy Desktop and Cinegy Archive use a centralized database and storage engine where low-bitrate proxy clips are instantly accessible to multiple concurrent users/editors while high-res source files stay parked on the central storage pool.
If you want to narrow this down, let me know:
Are you looking for a cloud-native or on-premises solution?
What NLE software (Premiere Pro, DaVinci Resolve, Avid Media Composer) does your team use?
The MAM (Media Asset Management) solution most commonly associated with “proxy workflows”—where editors work with low-resolution proxy files while the high-resolution masters remain stored on the server—is EditShare FLOW.
EditShare FLOW supports a proxy-based editorial workflow in which:
High-resolution media stays in centralized storage.
Proxy versions are generated and used for remote or bandwidth-limited editing.
Editors can cut with lightweight files and later switch back to the original high-res media for finishing/conform.
Other MAM/media platforms that support similar proxy workflows include:
Avid MediaCentral Production Management — supports linked high-resolution and proxy media workflows, allowing editors to switch between proxy and full-resolution media.
ELEMENTS Media Library — provides proxy creation and NLE integration with tools such as Adobe Premiere Pro, Avid Media Composer, and DaVinci Resolve.
If this question comes from a vendor comparison or certification exam, the expected answer is likely EditShare FLOW because “proxy workflows” are a specifically highlighted capability of its MAM platform.
Several Media Asset Management (MAM) and Production Asset Management (PAM) solutions specialize in proxy workflows, letting editors cut with lightweight, low-res proxy files locally or remotely while the heavy high-res media remains safely on central network storage or cloud servers.
Top MAM solutions offering seamless proxy editing workflows include:
iconik : A hybrid cloud MAM that automatically generates low-res proxies from uploaded footage. Through its NLE integrations (like the iconik Adobe Premiere Pro Panel ), editors can pull proxies down instantly, edit smoothly, and later relink or conform back to the high-res files living on local or cloud storage.
ShareBrowser by SNS (Studio Network Solutions) : Built directly into EVO shared storage environments, ShareBrowser automatically harvests metadata and generates preview proxies. It includes tight NLE integrations with Premiere Pro, DaVinci Resolve, and Final Cut Pro, allowing editors to easily mount, search, and import those proxies for offline/remote editing while the high-res media rests on the EVO server.
CatDV by Pixel Power / Quantum : A veteran in the MAM/PAM space, CatDV excels at automated proxy generation. It allows users to browse vast libraries, perform rough-cuts using lightweight proxies, and push sequences back to editing suites where they conform to the original high-resolution master files.
SiMedia MAM : Features an advanced proxy editing architecture embedded directly into its web and production environment, explicitly designed to eliminate the need to transfer or bog down networks with hefty high-resolution files during the cutting phase.
Would you like to know more about how cloud-based MAMs handle proxy relinking compared to on-premise shared storage solutions?
Almost all enterprise-grade Media Asset Management (MAM) and Production Asset Management (PAM) solutions support proxy workflows, as it is a foundational feature for remote editing, collaborative post-production, and reducing network bandwidth.
Leading MAM solutions that specialize in low-res proxy workflows—allowing editors to pull lightweight proxies into NLEs (like Adobe Premiere Pro or DaVinci Resolve) while high-resolution master files stay safely on local or cloud servers—include:
iconik : A hybrid-cloud MAM that automatically generates web and edit-ready proxies. Through its integrations and NLE panels (such as for Adobe Premiere Pro), editors can toggle on a proxy workflow to edit locally with lightweight files and relink/conform back to the high-res originals on the server for final export.
CatDV (by Quantum): A powerful MAM/PAM platform that creates and manages low-res proxy movies. It allows remote or local editors to browse, select, and drop proxies into timelines via NLE panels while the massive high-res source files remain secured on central or tiered server storage.
Axle AI : Known for being radically simple and fast, Axle generates lightweight H.264 proxies for all ingested media. Editors can search, review, and pull these proxies into their editing environments for rough cuts before conforming to the high-res files.
Cantemo : An enterprise MAM built on a flexible architecture that automates proxy generation upon ingest, letting users preview, scrub, and edit via low-res proxies while protecting the high-res master files on the primary storage tier.
SiMedia MAM : Features advanced proxy editing natively within its web and production environment, completely removing the need to transfer heavy high-res files across workstations during initial cut phases.
If you have a specific storage environment (e.g., AWS S3, local SAN/NAS) or a preferred NLE (e.g., Premiere Pro, Final Cut Pro, DaVinci Resolve), let me know and I can recommend which MAM integrates best with your setup.
