Your internet speed should be close to or greater than the video's bitrate. For example, if you are working with a videofile with a bitrate of 200Mbps, you'll need an internet connection speed of at least 200 Mbps for uninterrupted playback. Run an internet speedtest to get a real-time understanding of your available bandwidth.

To work with files with a very high bitrate like RAW files, you can Cache or Pre-Cache the part of the file you use on a local SSD. More info below.

Use a wired internet connection whenever possible for significantly faster and more consistent speed.

Sync solutions (introduced by companies like Dropbox, Google Drive, and OneDrive) are a way of keeping files synced across multiple devices by having copies of the files in different places. This method works fine for individuals with small files and casual sharing needs, however, as file sizes and data sets get bigger, it becomes less effective and impractical for production environments.

Sync solutions can be problematic and inefficient because users have to download and sync files repeatedly across multiple locations, which wastes time and resources.

Suite Storage, on the other hand, integrates directly with the file system on your device and is built to make cloud storage behave like a Network Attached Storage or NAS.

It provides instant access to data regardless of size or distance, without the need to sync or download, which is a huge advantage for those working with large files or in remote working situations.

You can Cache or Pre-cache files or folders to your local SSD in advance, or to a NAS for all the users in your facility. This maintaines real-time connectivity, regardless of your location or the quality of your internet connection.                 Opting to (pre)-cache media keeps the files you need close-at-hand, and ensures your time is spent on editing or coloring, not waiting around for files to download & sync.

Choosing the right codec and bitrate directly impacts your storage requirements and workflow efficiency. By carefully selecting the appropriate codec and bitrate, you can optimize both quality and storage, streamlining your post-production process. If you're seeking a solution to manage these complexities, Suite's cloud storage can make these processes more efficient, hitting deadlines with less difficulty & in less amount of time.

Transcoding is an essential step in many post production workflows. It is often necessary when the original RAW-footage needs to be edited on systems that cannot handle the heavy data loads of raw codecs.

The transcoded dailies or better proxies can be categorised in 5 types:  

Immediates (proxies generated in camera), Quick & Dirty (ungraded), Shot by Shot One Light (with LUT & CDL), Shot by Shot Full Grade (a full colorgrade, including secondaries & texture like grain) and Mezzanine or intermediates.

Shot by Shot Full Grade

They provide the most precise and creative look of all the proxies types. These dailies are likely created straight from the final color grading platform, in ProRes422 or DNxHD.

Allows everyone downstream, being the editor or VFX artist, to view the timeline with the Cinematographer’s and Director’s intent, from the earliest rough cuts through the final approved color grade. The edit will playback smooth & clean, allowing the editor and director to focus on the content rather than jarring cuts. It gives a more accurate idea of what was filmed.

In this workflow the colorist needs to receive the daily rushes right after the shoot in order to grade them, and upload the proxies to the cloud. Read how this works in the next paragraph.

Upload the rushes after every shooting day to Suite Storage, after saving 2 copies on HDD or/and LTO. 

The colorist can start grading immediately without downloading the RAW files, presenting already different versions of the grading to the Director.

After approval the colorist uploads the exported full grade proxies in ProRes to Suite Storage. Once uploaded, the audio syncing & editing can start directly from these files in the cloud, with fully graded files, and also without downloading. You can update every new editorial version with a new XML to color, until the delivery date. More info in our newsletter Issue#001.

Or the Creatives can review the result of a shooting day, with the look they had in mind, and allow us to start discussing looks & reviews earlier than anything else. 

Have a look to our Issue#001 • Conforming during the color grading with multiple editorial versions. 🔗