Working with a remote editor is both simple, cost effective, and worry-free. As technology offers a variety of ways to communicate, it's as if the editor was right down the hall.
Using an inexpensive drive (USB 3.0, Firewire, Thunderbolt connections), the media to be edited would get copied to the drive, and the drive shipped out to the edit bay. If any additional material needs to be added at a later date, it can be sent either via email, or through a service like Dropbox for larger files.
Once the files are in-hand, the editing can begin. As a producer, there are many ways to discuss the direction of the show, including Skype, FaceTime, and even through phone calls and email.
An Avid sequence can be emailed daily, which will automatically relink to the media that is mirrored at the Post-Production office. In the case that there isn't an actual facility, the current cut can be exported into a Quicktime, along with burned-in sequence timecode.
With the timecode in sync with the cut, any questions, notes, or compliments as to the brilliance of the edit can be easily referenced as if the producer was screening the cut in the bay.
Of course, since there is no bay, there's no bay rental. And because the Avid is off-site, there's no system rental either. By editing remotely, you can put your post-production savings right back into the production, while still working with an A-List editor.