Are you editing a feature film with dozens of reels and thousands of sound effects? Are your hard drives becoming cluttered with back up sessions for every picture change?
Maybe you’re working with a score of musicians worldwide while creating an orchestral opus. You need to share your work, but are too busy to create FTP credentials and track exchanging stems.
Does this sound familiar? You’ve likely you’ve found that your sessions bloom in size as you add sound fx, loops, and samples from external hard drives and network libraries. And, as more people collaborate, sharing work becomes more complicated.
This is common for sound creators. Most are used to this, and can accommodate for fractured media storage and workers spread across facilities, cities, and countries.
What’s not so common is a method for backing up, or sharing these projects. It’s tricky: how can you track and archive your work when the media and workers are so disparate?
Gobbler was created specifically to help pro audio teams solve this problem. This post will look at how Gobbler works, and why it is helpful to sound editors.
I’ve just started using Gobbler, and today I’ll share my first impressions. I haven’t completely run it through its paces yet, but wanted to publish this mini-review of Gobbler early. Why? I want to let you know of a limited promotion they’re offering, which ends January 2, 2013.
Here’s the pitch: if you sign up before then, you get five gigabytes of storage and transfer bandwidth for free. And, if you sign up by clicking this link, you’ll get an extra 512 megabytes tacked on, for a total of 5.5 gigabytes.
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