Five steps, one job ID. Submit a source in the console, pick a preset, and the master chunks it, fans it across the fleet, and verifies every chunk before it ships.
Deterministic output. The same source and preset produce a byte-identical result whether one worker ran it or forty.
Open Submit in the console and browse to the file where it already lives, or paste its path — nothing is copied. Only have it on your laptop? Upload streams it to the master. No terminal, no API to learn: point, click, submit.
Pick a delivery preset from a searchable gallery — filter by codec, resolution, container or HDR, or just type what you need. One output, or switch to Localization to mux every territory from a single picture encode.
Submit, and the job appears at the top of the queue with a live progress bar, throughput and ETA. Point a watch folder or a whole folder of shots at it and they queue together — each one fanned across the fleet as capacity frees up.
Open a job to see the distributed encode in real time: the master cuts the source into scene-aware chunks, hands each to a worker that can encode it, and rebuilds the master as they land — reassigning any chunk a worker drops and retrying any that drifts.
Every finished job carries its proof: eleven verifiers score quality, timing, audio, fixity and lineage, and the results live on the job's Forensics tab — ready to hand to QC or a client. If a chunk ever drifts, it is re-encoded, never shipped.
The same master and fleet serve a self-contained post house, a tracking-system pipeline, and an editorial round-trip. Pick the entry point that matches the way you already work.
Watch folders auto-submit whatever lands in them, one-click ingest turns a shot into its masters, dailies and references, and reviewers approve or reject against a scrubbable preview — slates and burn-ins included. Every deliverable ships with its verification evidence. No ShotGrid required; the console is the pipeline.
A Flow Production Tracking event triggers ingest on its own: the project resolves to an ingest profile — handles, OCIO colour, EXR codec, preset bundle, slate and burn-in templates — and every shot lands as versioned masters, dailies and references, tracked shot by shot beside the same review queue and QC evidence.
Editorial proxies matched to Avid, Premiere, Final Cut and Resolve; a Resolve reattach kit beside every proxy; a Hiero or OTIO timeline exploding into one job per clip; markers and chapters that survive the encode; chunking that aligns to your EDL's cuts. In development: a full Resolve round-trip — submit from the timeline, relink automatically.
There is no appliance to buy. A worker is a daemon on machines you already own — and most rooms are full of machines that stop working the moment somebody stands up.
Edit bays and artist workstations sit idle half the day. Idle-burst keeps a worker gentle while someone is at the desk and opens it up the moment they leave — and an admin can pause or throttle any box live, mid-job.
Render blades that burn all night on frames can carry ingest too. A worker beside the render client turns every blade into an encode node — the two servers that used to bottleneck ingest become the whole rack.
Capability matching means mixed fleets just work: each chunk goes to a box with the right codec and accelerator, and slower machines simply take fewer chunks. Last year's workstations are still throughput.
Install the master, join a worker, submit a job. Self-hosted and free to run on hardware you already own.