The NAS for 4K and 8K video editing isn't measured by drive count. It's measured by sustained read throughput, and most 2-bay NAS units connected via Gigabit Ethernet will bottleneck your editing workflow before your CPU does. 4K ProRes 422 HQ requires around 875 Mbps (110 MB/s) per stream. A single GbE connection maxes out at ~120 MB/s real-world, which means one editor cutting 4K ProRes over Gigabit is at the ceiling. 8K ProRes RAW requires 2,600 Mbps (325 MB/s) per stream. A Gigabit connection can't handle it at all. For professional video work, the NAS selection starts with the network, not the enclosure.
In short: For solo editing of typical low-bitrate 4K H.264/H.265 over 1GbE, the DS225+ or DS423 can be adequate; neither has built-in M.2 slots, and 4K ProRes 422 HQ remains marginal because the 1GbE link is the constraint. For reliable 4K or any 8K editing, you need 10GbE and a capable NAS. Among these models, only the QNAP TS-464 supports an optional 10GbE card. The DS725+ and DS925+ are limited to their built-in 2.5GbE/1GbE interfaces; the DS1525+ is the listed Synology model with an official 10GbE upgrade option. For multi-editor shared storage, move up to a DS1525+ or rack-mount unit. Budget AU $1,000-2,500 for the NAS; add 10GbE adapters for both the NAS and your editing workstation.
Understanding the Throughput Requirements
Before picking a NAS, establish your actual bandwidth requirements based on the codec you shoot:
Video Codec Bandwidth Requirements
| 4K H.264 (consumer) | 4K H.265/HEVC | 4K ProRes 422 HQ | 4K ProRes RAW | 8K ProRes RAW | |
|---|---|---|---|---|---|
| Bitrate per stream | ~100 Mbps | ~80 Mbps | 875 Mbps | ~1,400 Mbps | ~2,600 Mbps |
| MB/s per stream | ~12 MB/s | ~10 MB/s | ~110 MB/s | ~175 MB/s | ~325 MB/s |
| Works on 1GbE? | Yes | Yes | Marginal | No | No |
| Requires 10GbE? | No | No | Recommended | Yes | Yes |
H.264 and H.265 from mirrorless cameras or drones are well within 1GbE range. A basic NAS handles these fine. ProRes is the format that creates the real constraint. For Blackmagic RAW, REDCODE RAW and ProRes, determine the network requirement from the camera's actual resolution, frame rate and compression setting; the codec family alone does not make 10GbE mandatory. BRAW data rates vary widely by camera, resolution, frame rate and compression ratio; current Blackmagic documentation includes modes far above 2,400 Mbps.
The Network First: 10GbE is the Starting Point
Network requirements depend on codec, resolution, frame rate and simultaneous streams. A single common-frame-rate 4K ProRes 422 stream can fit within 1GbE, while 2.5GbE can handle a single 4K30 ProRes 422 HQ stream; 10GbE provides additional headroom for higher frame rates, RAW formats and multiple streams. NAS, switch (or direct connection), and editing workstation. On a Mac, Thunderbolt 3/4 to 10GbE adapters are available from OWC, Akitio, and others for $200-350 AUD. Most editing PC builds need a 10GbE NIC. Options from Asus, QNAP, and Synology run $180-500 depending on port count and form factor.
For a direct connection, use a DAC only when both endpoints have compatible SFP+ ports. Use suitable twisted-pair Ethernet cabling when the NAS and workstation use 10GBASE-T RJ-45 ports. A 10GbE DAC cable costs ~$30 and eliminates the need for a 10GbE switch (which starts at ~$400 for managed 10GbE). For multi-editor shared storage, a 10GbE switch becomes necessary. For a managed switch with eight 10G/Multi-Gigabit RJ-45 ports, consider the NETGEAR XS508TM; if you need only two 10GbE SFP+ links, the Zyxel XGS1010-12 is an unmanaged mixed-speed alternative.
Best NAS Options for 4K and 8K Editing in Australia
NAS Models for Video Editing (AU Pricing)
| DS725+ | DS925+ | QNAP TS-464 | DS1525+ | QNAP TS-873A | |
|---|---|---|---|---|---|
| AU Price (diskless) | $949 (market avg) | $999 (market avg) | $1,099 | $1,807.35 (market avg) | $2,135 (Scorptec) |
| CPU | AMD Ryzen R1600 | Quad-core | Intel Celeron N5095 | AMD Ryzen V1500B | AMD Ryzen V1500B |
| RAM | 4GB (to 32GB) | 4GB (to 32GB) | 4GB (to 16GB) | 8GB (to 32GB) | 8GB (to 64GB) |
| 10GbE (built-in) | No. Add card | No. Add card | No. Add card | No. Add card | Yes (2× 2.5GbE base) |
| PCIe expansion | Yes (×2) | Yes (×2) | Yes (×2) | Yes (×2) | Yes (×2) |
| Drive bays | 2 × 3.5" + 2 M.2 | 4 × 3.5" + 2 M.2 | 4 × 3.5" + 2 M.2 | 5 × 3.5" + 2 M.2 | 8 × 3.5" + 2 M.2 |
| Best for | Solo 4K editor (1 stream) | Solo 4K/light 8K editor | 4K editor, tight budget | Multi-editor 4K shared | Multi-editor 4K-8K shared |
Prices last verified: 30 March 2026. Always check retailer before purchasing.
Synology DS725+. Solo Editor Entry Point
The DS725+ ($869 at Mwave) is Synology's 2-bay Ryzen R1600 model with two M.2 NVMe slots and PCIe expansion for a 10GbE card. The Ryzen CPU is a meaningful step up from Celeron for sustained I/O. It handles SSD caching operations and multiple concurrent processes without the Celeron's performance ceiling.
The DS725+ has one 2.5GbE and one 1GbE port, no 10GbE upgrade slot, and Synology reports approximately 276-282 MB/s maximum sequential read performance under its test conditions. Well above 4K ProRes requirements. The limitation is the 2-bay chassis: 2× 8TB WD Red Plus drives give 8TB usable in RAID 1, which is modest for a high-volume video workflow. Pairing it with a Synology DX525 expansion unit extends the system to seven bays total., though that's a significant additional investment.
The DS725+ suits: A single 4K editor working in ProRes 422 or ProRes 422 HQ, with up to 8-16TB of project storage, who wants a Synology ecosystem (Photos, Drive, Active Backup) alongside editing storage.
Synology DS925+. The Practical 4K Editing NAS
The DS925+ ($1,029 at Mwave) adds two more drive bays and a quad-core processor. With 4× 8TB drives, both single-redundancy SHR and RAID 5 provide approximately 24TB nominal usable capacity before filesystem and unit-conversion overhead. Enough for a realistic multi-project video library. The DS925+ has two built-in 2.5GbE ports and no 10GbE upgrade slot. Synology reports up to 522 MB/s sequential read under its test conditions, and its SSD-cache guidance says large sequential video workloads generally receive minimal cache benefit. Synology SSD cache is a block cache for frequently accessed random I/O; it does not automatically tier completed project files between SSD and HDD storage, and sequential video access generally receives little benefit.
The DS925+ suits: A solo or light dual-editor setup in 4K ProRes, with up to 24-32TB of spinning storage plus SSD cache for active projects. The most cost-effective Synology option for serious video work below the SMB tier.
Synology DS1525+. Multi-Editor Shared Storage
The DS1525+ ($1,750 at Mwave) is Synology's 5-bay AMD Ryzen V1500B model with 8GB ECC RAM. The first consumer-tier Synology that's credibly positioned for shared editing storage serving multiple concurrent users. Five 16TB drives in SHR-2 provide approximately 48TB nominal usable capacity. The number of simultaneous editors must be validated against the actual codec, stream count, network design and storage configuration; Synology does not publish a contention-free 2-4-editor rating.
For post-production houses sharing footage across a facility, the DS1525+ is the starting point. The Ryzen V1500B handles simultaneous SMB connections, background indexing, and Hyper Backup offsite backup without the CPU bottleneck that plagues Celeron-based units under multi-user load.
The DS1525+ suits: 2-4 editors sharing a common 4K project library, with the NAS as a central production server and individual workstations editing directly from shared volumes.
QNAP Options for Video Editing
QNAP's strength in the editing space is more aggressive 10GbE integration. Models like the TS-464 (approximately $1,000 locally) include a Celeron N5095 with 4 drive bays and PCIe for network expansion. The standard QNAP TVS-h674 uses Intel Core i3 or Core i5 processors, includes two 2.5GbE ports, and supports optional 10/25GbE through PCIe expansion; its built-in HDMI output is Full HD. Though at that price point it's competing with Synology's rackmount units.
QNAP's QTS operating system has more granular RAID management options than DSM and supports QNAP's separate SSD-cache and Qtier auto-tiering features more aggressively. For users already embedded in the QNAP ecosystem or who need the TS-h series' ZFS-based QuTS hero OS, QNAP is a viable alternative to Synology at similar price points.
The trade-off: QNAP's interface is more complex, and some QNAP models have had security issues requiring prompt firmware updates. If you want a set-and-forget editing NAS, Synology's DSM is generally more polished for that use case.
UGREEN NASync for 4K Editing
The UGREEN NASync DXP4800 Pro (affiliate link) includes 10GbE plus 2.5GbE networking and dual M.2 NVMe slots, with an Intel N100 that supports Quick Sync hardware transcoding for H.264/H.265 4K work. At $1,149.99 from the UGREEN AU store, it undercuts Synology on price for comparable RAID and connectivity, with meaningfully faster networking than the 2.5GbE-only competition.
The remaining limitation for serious ProRes editing is UGOS Pro's software ecosystem, still less mature than Synology DSM. For YouTube creators or documentary filmmakers shooting H.265 4K who want affordable shared storage with room to grow into 10GbE, the DXP4800 Pro is worth evaluating. The 10GbE port provides headroom for multiple streams and higher-rate formats, but a capable 2.5GbE NAS can carry a single common-frame-rate 4K ProRes 422 HQ stream. See the UGREEN NAS Australia guide for model details and AU pricing.
Storage Sizing for Video Workflows
Video data grows faster than most users plan for. At UHD/29.97p, ProRes 422 HQ is approximately 884 Mbps, or about 398GB per hour. Treat 1TB per hour as a conservative planning allowance rather than a fixed codec requirement, and calculate from the actual frame rate and format. before proxies, exports, or archives. 8K ProRes RAW storage consumption varies with resolution, frame rate, compression level and image content; calculate capacity from the actual camera mode rather than assuming a fixed 3+TB per hour.
For a practical NAS workflow:
- Working storage (NAS spinning drives): Active projects for current and previous quarter. Typically 16-32TB
- SSD cache tier: 2× M.2 NVMe for hot files (current edit project). 1-2TB NVMe SSDs (~$150-300 each at local retailers)
- Archive storage: Completed projects move to LTO tape (if at scale) or a second NAS on slower/cheaper drives. The 3-2-1 backup guide covers archival strategies
Related reading: our NAS buyer's guide.
Use our free Transfer Speed Estimator to estimate how long large transfers will take over your connection.
Found the right NAS? Before you buy, our expert build review checks your full configuration. Drives, RAID type, RAM, and backup strategy. To catch gaps before they become expensive problems. $149 AUD, 3 business days.
See also: our complete UGREEN NAS Australia guide.
See also: our complete Synology NAS Australia guide.
See also: our complete QNAP NAS Australia guide.
See also: our full Photo and Video Storage guide.
Do I need 10GbE for 4K video editing from a NAS?
It depends on the codec. 4K H.264 and H.265 at typical camera bitrates (50-200 Mbps) work fine over 1GbE. 4K ProRes 422 (not HQ) is marginal on 1GbE. Playback works but scrubbing and rendering may stutter. 4K ProRes 422 HQ, ProRes RAW, and Blackmagic RAW all require 10GbE for real-time editing. 8K network requirements depend on codec and recording settings: compressed professional formats such as 8K HEVC may fit within 1GbE, while high-bitrate RAW and intraframe formats may require 10GbE or faster. If you're working in a compressed delivery codec, 1GbE is likely enough. If you're cutting in the original camera master files (common in professional workflows), check the bitrate and size accordingly.
How many editors can share a NAS for 4K editing simultaneously?
With a 10GbE NAS and a 10GbE switch, the practical limit is the NAS's total throughput divided by per-stream requirements. The DS925+ cannot be used as a 10GbE, 900 MB/s example: it has two 2.5GbE ports and Synology reports up to 522 MB/s sequential read under its test conditions. (each requiring ~110 MB/s), leaving headroom for scrubbing overhead. A DS1525+ at similar speeds handles similar concurrent loads with more predictable performance under sustained multi-user access. For 4+ simultaneous editors, move to a DS1823xs+ or a dedicated storage platform.
Is SSD cache worth it for video editing?
Yes, significantly so. SSD read cache (two M.2 NVMe drives in a read-only cache pool) keeps the active edit project's files in SSD-speed cache, delivering near-SSD throughput to the editing workstation while the bulk of the library sits on spinning drives. Synology SSD cache primarily accelerates repeatedly accessed random blocks. It does not guarantee that an active video project will remain cached, and Synology says large sequential video workloads generally receive minimal benefit. The DS725+, DS925+, and DS1525+ all have two M.2 slots for SSD cache. It's one of the best value upgrades you can make to a video editing NAS.
Should I use Thunderbolt instead of 10GbE for NAS-to-workstation connections?
Thunderbolt direct-attach (TB3/TB4 to NAS) is only available on a small number of NAS models (some QNAP units). Thunderbolt 4 has a nominal 40Gbps interface rate, but QNAP specifies up to 20Gbps for Thunderbolt Networking on the TVS-h674T. That model has two Thunderbolt 4 ports, so it is not inherently limited to one directly connected workstation. (which is expensive). For a single-editor workflow where the NAS is at the desk, Thunderbolt is a strong option. For shared storage serving multiple workstations, 10GbE over a switch is more practical and scalable.
Can I edit directly from the NAS or should I copy files to a local drive first?
With adequate network throughput (10GbE and the right NAS), editing directly from NAS is viable and is the standard workflow in professional post-production environments. The advantage is no copy time. Open project files directly, save renders directly. The risk is network dependency: if the NAS goes offline or network performance degrades mid-render, you lose work. For mission-critical deadlines, some editors copy the current day's active project to a local SSD for the edit session and sync back to NAS at end of day. This hedges against network issues while retaining the NAS as the master library.
Running a multi-editor post-production setup? Read the shared NAS storage guide for video teams. Covers SMB vs NFS, user permissions, simultaneous access limits, and AU networking options for post-production workflows.