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Visit the LumaForge NAB suite, plug your Mac up and test out a Jellyfish!

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With NAB just hours away, Sam Mestman from LumaForge put down his thoughts about his new shared storage systems that will be on display. Take your Mac, plug and and test for yourself. Mentioning FCP.co with an order will also get you a free 10GigE to Thunderbolt adaptor!


Hey guys, Sam here. Couldn’t be more excited for NAB this year. Really hope I’ll be seeing some of you guys there. The best part of NAB is always connecting the digital faces to the real ones.

We started LumaForge because we wanted to make the process of making movies easier for the filmmaker. Things are just way too complicated now, and there are too many things that have nothing to do with storytelling getting in the way of making your movie. There are too many codecs, too many resolutions, too many obscure deliverables, and creatives have come to define their ability more by how they troubleshoot technical issues than they do with the actual craft of editing.

It used to be that all you needed to tell a story was two pieces of film, a splicer, and some tape. Now you need a deep understanding of codecs, bit rates, resolutions, networking, XML, metadata, and a whole lot of other things that have nothing to do with your story. Technology was supposed to make things easier, not harder, for editors, and the purpose of the NLE and digital filmmaking is to give people more control over their edits, not infuriate them with a whole bunch of things that should work together but don’t. The technology needs to start getting out of the way, and the mission of LumaForge is to find the best way to take the core essence of what can be done with technology, and make it easy enough for any storyteller to use to make their movie.

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The recent event at an Apple Store using a ShareStation for short film production.


In terms of the best place to start with this approach, we picked the biggest, baddest, most complicated, antiquated thing in the Entertainment industry: Shared Storage. Unfortunately for most video editors, the second you decide you want to edit with a second person is the second you have chosen to enter a world of pain.

Whether it’s the reconnect dance of sneakernet, or the labyrinth that is SAN configuration and optimization, the only thing that we have been taught when it comes to video collaboration is that it’s hard and that it shouldn’t be done by creative people.

There is nothing more terrifying to the average editor than walking into a server room to find the IT guy. You feel outclassed, stupid, and powerless to solve your problem. The reason most editors feel this way (I used to), was because we have all been taught to be powerless when it comes to using our storage. It’s supposed to be too complicated for us dumb creatives to work with, so you gotta bring in the specialists who will tell you all the reasons why it can’t be easy… and the complicated dance steps we need in order to make it work half as well as it was advertised to us. And yet, we all need shared storage in order to efficiently work together.

Why is it that we can edit 4k, 5k, and 6k video off direct attached storage easily, but hooking up to a network and configuring it properly for video work is somehow so hard? How come you’ve got to spend so much time configuring your network and SAN, but a direct attached drive is just plug and play? How come once you say the words “shared storage” your budget skyrockets for something that may or may not performs as advertised? Well what we’ve found after a few years of intense R&D is that it doesn’t have to be that way.

At LumaForge, we are here to tell you that this approach is insane and should not be listened to. You can edit with multiple editors, you can do it affordably, and it can be easy to set up and maintain. If you’re at NAB next week, we would love to prove this to you on one of our systems at the ShareStation Workflow Suite we’re setting up at the Encore.

Regardless of whether you edit in FCPX, Premiere, Avid, or Resolve (or anything in between), and whether you’re working in Education, Film & TV, Broadcast or Advertising, I think we can help. Take an hour or so to come by our suite so that we can show you how easy it can be to work with your team in a collaborative environment.

Here’s where you can sign up:  LumaForge Sign Up

At the suite we’ll be demonstrating the following:

Scan. Initialize. Mount! - 3 clicks to a better movie: Every ShareStation is preconfigured for you so that you can get working as soon as it arrives. With just 3 clicks in our Shareclient App for OS X, you can connect up a computer that has never been connected to a ShareStation before.

Don’t believe us? Bring your laptop to the suite and we’ll connect you up and you can see for yourself on your own computer. No messing with IP’s, networks, or system preferences. The Shareclient configures everything for you, and optimizes it for seamless performance with the ShareStation and your Mac. You can even set up spotlight index, Automount, unlock an FCPX Library, or reconnect your FCPX proxies right from the Shareclient App.

It’s as close to plug and play as you’re going to get with shared storage, and you will be amazed at the workflows that can open up for your team when your storage is simple to use, optimized for video performance, and blazing fast. Whether you’re working with an iPhone, 1080, 2k, 4k, 6k, 8k media and beyond, a ShareStation will allow you and your team to spend more time on your story and less time on IT. The Shareclient App will allow you to do so faster and easier on shared storage than has ever been possible.

The Jellyfish - The Jellyfish is the product we think most of you have been waiting for. It’s affordable, blazing fast shared storage with no compromises in a small form factor that allows you to leave sneakernet behind for good. It’s been traveling the world lately, spending some time in the UK with fcp.co and the World Track Cycling Championship.

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It went to Wrestlemania and suplexed on-set workflow, and was just on-set with the Phantom and a handful of REDS (case studies coming soon). Now it’s coming to Vegas and is going to be in the suite as well as at the Supermeet and Media Motion Ball. For a small team of editors or in house agency, or for anyone who wants to change the game in On-Set Post workflow… we literally designed the Jellyfish for you. There’s three configurations available - Jellyfish HD, Education, and 4k, and they start around $7500 (US price… International pricing varies).

Our updated Indie - We’ve spent a lot of time trying to figure out what the small workgroup with high performance storage needs really wanted, and we believe that it’s the new Indie. The Indie is rack mounted power and expandability in a quiet, portable form factor, and it’s perfect for video labs, classrooms, VFX teams, and feature films/TV series with a lot of data, but no server room.

A standard Indie unit can deliver more than 3000 MB/s to your team, can handle up to 24 direct connections to clients (gigabit, 10GbE SFP+ or RJ45, and even 40GbE), and can hold up 120TB in a single 20 bay chassis. You can even add expansion chassis to give you up to 425 TB of storage and 8000 MB/s in total available bandwidth.

Not only is the indie on wheels, but it’s quiet enough to live in the room with you while you edit, and basically allows teams of editors and students to have all the power and connectivity of a server room SAN without all of the cost, IT headaches, and inflated air conditioning bills. Prices starting from $19,950 (US price… International pricing varies).

Our improved Studio configurations - There is absolutely still a place for rack mounted storage, and we have decided to take the chains off our Studio model. Every Studio is designed to your team's exact specifications, and LumaForge will optimize your system for existing network infrastructure, including Active/Open directory.

Expandable to 3.5 Petabytes, with (24) direct connections to clients (gigabit, 10GbE SFP+ or RJ45, and even 40GbE), and speeds of up to 12,000 MB/s. If your facility is looking for highly scalable, modern rack mounted storage, you will not find a better foundation to build off of than the ShareStation Studio. Prices starting from $29,950 (US price… International pricing varies.)

The truth is that we couldn’t be more excited to show you guys what we’ve been working on at NAB. We’ll have a bunch of computers loaded up with FCPX, Resolve, Avid, and the Creative cloud to play with, and a lots of friendly faces from the FCPX Community helping out in the suite.

So sign up here, bring by some footage, and come see for yourself how approachable collaborative workflow can be. Also, as a special perk for FCP.co readers, if you mention FCP.co when shopping for a ShareStation, you’ll get a free 10GbE to Thunderbolt adaptor.



Written by
Top Blogger Thought Leader

I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.

I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.

Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.

I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!

Current Editing

great house giveaway 2020

2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. The shows have also been nominated for a 2021 BAFTA.

Tour de france 2020
Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.


BBC snooker the crucible

BBC's Snooker has played a big part in my life, I've been editing tournament coverage since 1997. I'm proud to be part of a very creative team that has pioneered many new ideas and workflows that are now industry standard in sports' production. This is currently an Adobe Premiere edit.

amazon kindle BF

Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.

As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.

Plugin Design & Development

I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.

I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability.


Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook. 

The Future

I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!


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