A shared NAS provides video production teams with centralised storage accessible to multiple editors simultaneously. Central storage reduces copying between individual drives and provides one place to back up the project archive, but version conflicts still require project locking, permissions, or a supported NLE collaboration workflow. The critical constraints for a video editing NAS are bandwidth (aggregate bandwidth depends on editor count, codec, resolution, frame rate and simultaneous stream count; compressed 4K workflows may need tens of MB/s, while high-bitrate ProRes or RAW workflows can require hundreds of MB/s), low latency for scrubbing timelines, and correct share permissions to prevent editors overwriting each other's work. This guide covers configuring a NAS for multi-editor use: share structure, permissions, 10GbE networking requirements, SSD cache configuration, and recommended NAS hardware for 2-8 simultaneous editors.
In short: For 2 editors using 4K H.264 at 50-80 Mbps per stream, even 1GbE has ample sequential bandwidth on paper; validate the actual codec, number of simultaneous streams and NLE access pattern before adding SSD cache. For 4+ editors on 4K ProRes or higher-bitrate formats: 10GbE NAS, SSD read cache, and RAID 5/6 with 4+ drives minimum. The NAS port speed is typically the bottleneck; A single UHD/24p ProRes 422 HQ stream can fit within 1GbE's nominal bandwidth, but headroom is limited and higher frame rates or multiple streams may require faster networking.
Bandwidth Requirements by Format and Editor Count
Video Editing NAS Bandwidth Requirements
| 1 editor | 2 editors | 4 editors | 8 editors | |
|---|---|---|---|---|
| 4K H.264 (50-80 Mbps) | ~10 MB/s (1GbE OK) | ~20 MB/s (1GbE OK) | ~40 MB/s (1GbE may suffice; 2.5GbE adds headroom) | ~80 MB/s (1GbE may be tight; 2.5GbE provides ample link headroom) |
| 4K ProRes 422 HQ at UHD/24p (707 Mbps target) | ~88 MB/s (1GbE tight) | ~175 MB/s (2.5GbE needed) | ~350 MB/s (10GbE needed) | ~700 MB/s (10GbE + fast storage) |
| 4K ProRes 4444 (1.2 Gbps) | ~150 MB/s (2.5GbE tight) | ~300 MB/s (10GbE needed) | ~600 MB/s (10GbE + SSD cache) | ~1.2 GB/s (requires more practical network headroom than a single 10GbE link, plus storage capable of sustaining the workload) |
| 6K/8K RAW | ~200-500 MB/s (10GbE) | ~400 MB/s-1 GB/s (10GbE) | Viability depends on the RAW codec, frame rate, stream count and NAS storage/network configuration; some high-performance single-NAS systems can support these workloads. | Dedicated SAN/RAID |
| Minimum NAS port speed | 1GbE (H.264), 2.5GbE (ProRes) | 2.5GbE (H.264), 10GbE (ProRes) | 10GbE minimum | 10GbE + LACP bonding |
Share Structure for Multi-Editor Workflows
Organise shared storage to prevent file conflicts and support parallel work:
Recommended folder structure:
_Incoming. Footage ingestion folder. Camera files land here first. Write access for whoever is ingesting; read access for editorsProjects. One subfolder per project. Editors have read/write on their active project. Archive projects become read-only after deliveryProjects/[ProjectName]/Footage. Transcoded or optimised media for editing. Read access for all editors; write for the media managerProjects/[ProjectName]/Edit_[EditorName]. Personal project folder per editor. Full control for that editor only; read for reviewProjects/[ProjectName]/Shared_Assets. Common assets (graphics, music, templates). Read/write for all assigned editorsDeliverables. Exported files awaiting client delivery or archive. Write for editors, read for clients/stakeholders if using share linksArchive. Completed project originals. Read-only for all except admin
This structure allows multiple editors to work on the same project without overwriting each other's NLE project files. Each editor's sequence files live in their personal subfolder; shared media is read-only to prevent accidental deletion.
10GbE Network Setup
For four or more editors, size the link from aggregate codec, raster, frame-rate and stream demand; 10GbE is often appropriate for high-bitrate 4K ProRes, but is not required for every ProRes workflow. The upgrade path:
- 10GbE switch: An unmanaged or managed 10GbE switch. Budget option: choose a current switch model with the required port mix; the QNAP QSW-1105-5T is a legacy model (5 × 2.5GbE, no 10GbE uplink; verify current AU pricing). Better option: FS.com/Mikrotik 10GbE switches for 4-8 port 10GbE at $300-600 AUD
- NAS with 10GbE: Either a NAS with built-in 10GbE (such as Synology DS1823xs+) or a NAS with a supported PCIe 10GbE card (such as QNAP TVS-h674) or a NAS with a PCIe 10GbE card (QNAP TS-473A + QXG-10G1T card ~$150 AUD)
- Editor workstations: Each editing workstation needs a 10GbE NIC. USB 3.2 Gen 2 to 10GbE adapters (~$100 AUD) work for occasional use; a PCIe 10GbE card (~$100-200 AUD) is better for sustained transfer
All devices connect to the 10GbE switch. On a full 10GbE network, single-workstation throughput depends on the NAS, storage layout, cache mode, protocol and workload; validate the specific configuration rather than assuming 800-1000 MB/s., comfortably exceeding ProRes 4444 requirements.
SSD Cache Configuration
SSD cache can improve workloads with frequently re-read or random data, but large sequential video reads may see little benefit; results depend on cache mode, workload and the underlying array.:
Both Synology and QNAP support M.2 NVMe SSD caching (read cache, write cache, or read-write cache):
- Read-only SSD cache: Caches frequently read files in NVMe. After warmup, any benefit depends on cache hits, access pattern and network/storage limits; do not assume video files will be served at 1-3 GB/s. Ideal for ProRes footage used across multiple editing sessions
- Read-write SSD cache: Also caches writes to NVMe before flushing to HDD. Improves render write performance. Synology read-write cache requires at least two SSDs for fault tolerance; QNAP can permit an unprotected single-SSD write cache but warns that this may cause data loss.
On QNAP TS-473A or TS-464: 2 × M.2 NVMe slots for SSD cache. A read-write cache may help some workloads, but multi-editor gains depend on access pattern, cache sizing and mode, the HDD array and network; benchmark the intended workload before purchase.
🇦🇺 Australian Buyers: Hardware for Video Editing NAS
Hardware recommendations by team size (March 2026 AU pricing):
2 editors, 4K H.264/HEVC:
- QNAP TS-464 (~$989) + 4 × 4TB IronWolf (~$989) + 2 × 500GB NVMe cache (~$80) = ~$2,058 total. 2.5GbE handles 2 simultaneous H.264 editors. SSD cache keeps footage responsive
4 editors, 4K ProRes 422:
- QNAP TS-473A (~$1,269) + QXG-10G1T 10GbE card (~$150) + 4 × 8TB IronWolf Pro (~$1369) + 2 × 1TB NVMe cache (~$200) = ~$2,988. 10GbE provides ~900 MB/s sustained. Handles 4 ProRes 422 HQ streams
- OR Synology DS1823xs+ (8-bay, built-in 10GbE, ~$2,500). Higher cost but larger capacity ceiling and Synology's more mature permissions model
Australian retailer availability and stock status vary by model and date; check Scorptec, PLE, Mwave and price-comparison services before purchasing. Use StaticICE.com.au for drive pricing. Factor in UPS: power interruption during video render can corrupt project files on HDD. A UPS is especially important for video editing NAS environments.
Proxy Workflow: The Real Solution to 4K Bottlenecks
Proxy editing is the professional answer to the 4K bandwidth problem. Instead of editing from full-resolution 4K ProRes files directly off the NAS, each editor creates a low-resolution proxy version of every clip (typically Apple ProRes Proxy at 100-200 Mbps, or DNxHD LT at 45 Mbps). Editors cut the timeline using proxies at high speed over 1GbE without bandwidth issues, then relink to the full-resolution originals for colour grading and final export.
DaVinci Resolve generates proxies natively and relinks automatically when you switch from "Proxy" to "Original" mode. Premiere Pro does the same through its Proxy Workflow. Final Cut Pro Proxy creation runs in the background while you edit. The proxy files live in a separate folder on the NAS (or locally on each editor's machine), while the original camera files remain in the main media share. Proxy file size varies with the original and proxy codecs, selected frame size, frame rate, bitrate and duration.
Proxy size guide: 1 hour of 4K R3D at 300 Mbps = ~130 GB. Proxy file size must be calculated from the chosen proxy codec, resolution, frame rate and bitrate; these figures are not universal.
Folder Permissions and User Access for Multi-Editor Teams
A multi-editor NAS needs more than one shared folder. The recommended structure is three separate shares: a Media share for all camera originals (read-only for editors, read-write for the lead editor or DIT), a Projects share for NLE project files and proxies (read-write for all editors), and an Archive share for completed projects and exports (read-only for editors, read-write for the project manager or lead).
On Synology DSM, set up one group per access tier (MediaRead, ProjectRW, ArchiveRead). Add individual user accounts to the appropriate groups. Under Shared Folder > Edit > Permissions, assign folder access per group rather than per user. This makes onboarding a new editor a single step (add to the right groups) rather than manually setting permissions on each folder.
Common NAS Performance Issues in Multi-Editor Setups
A common performance problem is an undersized shared NAS or switch uplink; mixing 1GbE and 2.5GbE clients is not itself a bottleneck on a suitable switch. A 1GbE editor saturates their link at ~115 MB/s; a 2.5GbE editor saturates at ~280 MB/s. If multiple editors are reading simultaneously from a NAS connected via 1GbE uplink, the uplink becomes the bottleneck regardless of what speed the individual editors connect at. Solution: size the NAS uplink from the aggregate codec, frame-rate and simultaneous-stream demand rather than editor count alone; 10GbE may be appropriate for high-bitrate multi-editor workflows.
The second common problem is using WiFi for any editor in a 4K collaborative setup. WiFi introduces variable latency and throughput drops during retransmission. Wired Ethernet is preferred for sustained high-bitrate 4K ProRes or RAW work; whether Wi-Fi is adequate depends on measured throughput, latency, interference, codec and stream count. For editors in rooms without Ethernet runs, where Ethernet cannot be installed, test MoCA, powerline and Wi-Fi in the actual building because stability and throughput vary with wiring, interference, equipment and topology.
NAS Models for Multi-Editor Use in Australia (2026)
| Synology DS925+ | Synology DS1825+ | QNAP TS-464 | QNAP TS-873A | |
|---|---|---|---|---|
| Max drive bays | 4 | 8 | 4 | 8 |
| Network ports | 1x 1GbE | 2x 1GbE | 2x 2.5GbE | 2x 2.5GbE |
| 10GbE upgrade | Yes (PCIe) | Yes (PCIe) | Yes (PCIe) | Built-in 10GbE |
| Max RAM | 32GB ECC | 32GB ECC | 16GB | 64GB ECC |
| SSD cache support | Yes (M.2) | Yes (M.2) | Yes (M.2) | Yes (M.2 + PCIe) |
| AU price range (diskless) | $999 (market avg) | $1,947.75 (market avg) | ~$850-$950 | ~$1,800-$2,000 |
Related reading: our NAS buyer's guide and our NAS explainer.
Use our free Transfer Speed Estimator to estimate how long large transfers will take over your connection.
See also: our complete Synology NAS Australia guide.
See also: our complete QNAP NAS Australia guide.
Can multiple editors work on the same project file simultaneously?
Not on the same NLE project file. Premiere Pro, DaVinci Resolve, and Final Cut Pro project files are not designed for simultaneous multi-user editing. Each editor works in their own project file, pointing to shared media on the NAS. DaVinci Resolve has a genuine multi-user collaboration mode with a PostgreSQL project library that allows multiple editors to work within the same project. Self-hosted collaboration uses a PostgreSQL project library/server; Blackmagic Cloud is an alternative, while a NAS-container deployment is a model-specific, self-managed option that must be validated. For teams doing collaborative editing in Resolve, this is worth investigating. For Premiere, separate project files are not the only supported workflow: Productions provides project locking on shared storage, and Team Projects supports a shared cloud project. Final Cut Pro workflows should follow Apple's library and media-sharing guidance.
Do I need 10GbE for 4K editing?
Depends on the codec. 4K H.264 or H.265/HEVC (as shot by most cameras and iPhones) has manageable bitrates (50-100 Mbps) that 2.5GbE handles easily for 2-4 editors. Two UHD/24p ProRes 422 HQ streams total about 1.4 Gbps and can fit within 2.5GbE on bandwidth alone, although 10GbE provides substantially more headroom for additional streams and overhead. If you are proxying camera footage to ProRes Proxy for editing on a 2.5GbE NAS and only pulling full-res for export, you can often get away with 2.5GbE. For edit-in-place workflows with ProRes or RAW formats, 10GbE is necessary for multi-editor use.
How do I prevent editors from accidentally deleting footage?
Enable the NAS recycle bin on the footage shared folder. Configure permissions so the footage folder is read-only for editors (only the media manager has write access). Editors can read and copy footage to their own project folder but cannot delete from the master footage location. For an additional safety layer, configure Snapshot Replication on Synology (Btrfs snapshots). This provides point-in-time recovery of the footage folder even if a file is deleted from the recycle bin.
Should I use RAID 5 or RAID 6 for a video editing NAS?
RAID 6 for production storage. Video editing NAS units often have 8TB+ drives. Rebuilding a large RAID 5 array can take many hours or longer; duration depends on drive capacity and speed, RAID configuration, resync settings, drive health and system load., during which a second failure causes total data loss. RAID 6 survives two simultaneous failures, protecting against the second-failure-during-rebuild scenario. For project archives (less frequently accessed), RAID 5 is acceptable. For active production storage, RAID 6's additional protection is worth the loss of one extra drive worth of capacity.
Can I use a NAS for DaVinci Resolve shared database?
Yes. A PostgreSQL project library may be self-hosted, but running it in a NAS container is a model- and OS-specific, self-managed deployment; verify the NAS container platform and Blackmagic-supported PostgreSQL requirements before use. Resolve clients connect to the database container at the NAS IP for multi-user project collaboration. The NAS stores both the PostgreSQL database and the media files. Current desktop DaVinci Resolve supports PostgreSQL project libraries and project collaboration without requiring Studio solely for those features, network and memory requirements depend on the media workload, editor count, project database activity, NAS model and other services; size and test the container and storage workload separately. See the NAS for video editing guide for a full production workflow setup.
What internet connection do remote editors need to access NAS media?
Remote editing directly from NAS media over the internet is rarely practical for 4K formats. A 4K ProRes 422 stream requires ~88 MB/s (700 Mbps) sustained, which exceeds most Australian NBN upload speeds. The practical solution is a proxy-first workflow: editors receive low-resolution proxy files via download or sync, cut the timeline locally, and the NAS media is only accessed for final grading or export after the editor is on-site or connected via high-speed link.
How do you handle two editors accidentally opening the same project file?
NLE project files (Premiere .prproj, Resolve .drp, FCPX .fcpbundle) are not designed for concurrent editing. With unmanaged standalone project files, concurrent writes can cause conflicts or lost changes; use the NLE's supported locking or collaboration workflow rather than relying on a last-save-wins convention. The solution is a "checkout" convention: each editor keeps project files in their own named subfolder under the Projects share, and shared timelines are only on one editor's machine at a time. DaVinci Resolve's collaborative mode is an exception and supports genuine multi-user editing within the same project and timeline.
What is the minimum NAS setup for two video editors sharing 1080p footage?
For two editors sharing 1080p H.264 or H.265 footage, a 4-bay NAS with 2.5GbE ports (QNAP TS-464 or Synology DS925+ with its native 2.5GbE ports) handles the bandwidth comfortably. At 50 Mbps per stream for compressed 1080p, two simultaneous editors use around 12.5 MB/s combined, well within gigabit capacity. RAID 5 across four 8TB drives gives 24TB usable. The setup may need faster networking when aggregate camera-original bandwidth exceeds the available link; calculate this from codec, raster, frame rate, bit depth and simultaneous stream count rather than assuming 2.5GbE per editor.
Estimating the storage your video production NAS needs based on codec, frame rate, and crew size? The NAS Sizing Wizard provides a capacity estimate tailored to video workflows.